REVIEW: LITTLE SHOP OF HORRORS | HOPE MILL THEATRE | 7/10/2026
Little Shop of Horrors at Hope Mill Theatre – A Blooming Brilliant Production!
Little Shop of Horrors has always been one of my favourite musicals. Combining science fiction, horror, comedy and musical theatre, it brings together so many of the things I love. Add to that a fantastic score by Alan Menken, with lyrics by Howard Ashman, the legendary songwriting partnership responsible for so many of my favourite Disney songs, and it is hardly surprising that this musical holds such a special place in my heart.
Originally based on Roger Corman's 1960 comedy-horror film, Little Shop of Horrors was adapted into an Off-Broadway musical in 1982, before becoming an equally beloved musical film in 1986. Its combination of dark humour, memorable characters and infectious songs has helped it remain a firm favourite with audiences for more than four decades.
Now, Little Shop of Horrors at Hope Mill Theatre brings this cult classic to Manchester in a new production directed and choreographed by Carrie-Anne Ingrouille.
I attended the press performance on Wednesday 7 October, and having loved this musical for so many years, I was particularly excited to see how it would work in the intimate surroundings of Hope Mill Theatre. I certainly wasn't disappointed.
This production reminded me exactly why I love Little Shop of Horrors. With an outstanding cast, imaginative staging, impressive puppetry and, most importantly for me, wonderful performances of Alan Menken and Howard Ashman's incredible score, it is a thoroughly entertaining interpretation of this much-loved show.
Set in the rundown neighbourhood of Skid Row, Little Shop of Horrors follows Seymour Krelborn, a shy and awkward young man working at Mushnik's struggling flower shop.
Seymour dreams of escaping his miserable surroundings and finding happiness with his colleague Audrey, who is trapped in an unhappy relationship with the unpleasant and sadistic dentist Orin Scrivello.
When Seymour discovers a strange and unusual plant, which he names Audrey II after the woman he loves, his fortunes begin to change. The mysterious plant attracts attention, bringing customers into the previously failing shop and offering Seymour the possibility of fame, fortune and a better future.
However, there is one rather disturbing problem. Audrey II doesn't survive on water and sunlight. Instead, it has developed an appetite for human blood, and as the plant grows, so does its hunger.
Seymour soon finds himself facing increasingly difficult decisions as he discovers that getting everything he has ever wanted might come at a terrible price.
The story is wonderfully ridiculous, but beneath the comedy and science fiction elements are some surprisingly touching themes of love, loneliness, ambition and the desire for a better life. It is this combination of outrageous humour and genuine emotion that makes Little Shop of Horrors such a brilliant musical.
One of the things that impressed me most about this production was how effectively the creative team used the relatively small performance space at Hope Mill Theatre.
The intimacy of the venue worked particularly well for Little Shop of Horrors. Being so close to the performers made everything feel incredibly immediate, while the production itself felt much bigger than the space in which it was being performed. It was remarkable just how much they managed to achieve, with seemingly every inch of the stage put to good use.
Morgan Large makes an immediate visual impact with huge illuminated SKID ROW lettering, cleverly incorporating Mushnik's flower shop into the design. The striking backdrop establishes the setting, while the positioning of the shopfront amongst the letters and the surrounding scenery allows the action to move between locations.
The contrast between the bold, illuminated exterior and the more traditional interior of the flower shop works beautifully. Inside, the attention to detail is excellent, with shelves, plants, vintage furnishings and a counter that help create a believable working flower shop. Despite the limited space, the set never feels cramped, and I loved how thoughtfully the different elements were incorporated into the staging.
Rory Beaton's lighting design complements the set wonderfully. The illuminated lettering changes colour throughout the production, with vibrant reds, blues and whites creating different moods and atmospheres. The lighting strips extending overhead help draw the audience into the world of Skid Row, making the setting feel larger than the stage itself.
There is also a lovely contrast between the warmer, more natural lighting used inside the flower shop and the dramatic blues and greens seen elsewhere in the production.
The use of haze and carefully positioned beams of light adds another dimension to the staging, while the eclipse sequence is a particularly effective theatrical moment. Together, these effects help establish the different environments and enhance the atmosphere.
The costumes, also designed by Morgan Large, capture the musical's period setting beautifully, with each outfit reflecting the personality of the character wearing it. Seymour's slightly awkward clothing suits his shy and nervous nature, while Audrey's elegant blue dress, with its off-the-shoulder neckline, adds a touch of glamour. Orin's outrageous dentist costume provides a wonderful contrast, perfectly complementing his larger-than-life personality and the musical's dark humour.
Of course, no production of Little Shop of Horrors would be complete without Audrey II, and the puppets are incredibly impressive.
Also designed by Morgan Large, the various versions of Audrey II chart the plant's extraordinary transformation from a small, unusual specimen into an enormous, threatening creature that dominates the flower shop.
The level of detail is remarkable, particularly in the larger puppets, with their textured surfaces, enormous mouths and twisting foliage. I was especially impressed by how much personality the puppeteers gave Audrey II, from its smaller movements to its much more dramatic moments. The result is a wonderfully convincing character in its own right.
Carrie-Anne Ingrouille's direction and choreography are equally impressive. She makes every movement count, using choreography and physical comedy to bring additional energy to the musical numbers.
The movement throughout feels carefully considered, with performers making excellent use of the available space without it ever appearing overcrowded. The production maintains a lively pace, and the choreography, staging and performances complement one another particularly well.
Then, of course, there is the music.
The score has always been my favourite part of Little Shop of Horrors, and I absolutely love the songs written by Alan Menken and Howard Ashman. Hearing them performed live is always something I look forward to, and this production certainly didn't disappoint.
The score is packed with fantastic numbers, combining elements of doo-wop, Motown, rock and roll and musical theatre to create something incredibly distinctive. From the energetic opening number to songs such as Dentist!, Somewhere That's Green and Suddenly Seymour, there is barely a moment when the music isn't bringing something special to the production.
I am delighted to say that the cast performed the score brilliantly. The vocals throughout were outstanding, with each performer bringing something different to the musical numbers. Whether it was the incredible harmonies of Crystal, Ronnette and Chiffon, the beautiful vocals of Jed Berry and Maisie Smith, or the powerful voice of Marcus Ayton as Audrey II, the musical performances were a real highlight.
The live musicians also deserve praise, with the musical direction and sound balance allowing the score and vocals to shine.
Having loved these songs for so many years, hearing them performed so wonderfully in the intimate surroundings of Hope Mill Theatre was an absolute treat. For me, the music is the heart of Little Shop of Horrors, and this production certainly did it justice.
The entire cast of Little Shop of Horrors at Hope Mill Theatre is fantastic, with every performer contributing to the success of the production.
Jed Berry is absolutely wonderful as Seymour Krelborn. He perfectly captures the character's shy, awkward personality, finding plenty of humour in Seymour's nervous mannerisms while making him incredibly likeable.
There is something endearing about his performance that makes it impossible not to root for Seymour, even when he begins making some rather questionable decisions. His vocals are equally impressive, effortlessly moving between the show's energetic numbers and its more emotional moments.
Maisie Smith is equally fantastic as Audrey, bringing a lovely combination of warmth, vulnerability and humour to the character. I loved her interpretation of Audrey, particularly the way she makes you genuinely care about what happens to her.
Her performance of Somewhere That's Green is particularly touching, allowing the emotional side of the musical to shine through. Smith also has excellent comic timing, bringing plenty of personality to Audrey without losing the sensitivity that makes the character so endearing.
I particularly loved the chemistry between Berry and Smith. They work brilliantly together, making Seymour and Audrey's relationship feel natural and believable. Their scenes together are filled with both humour and tenderness, and their performance of Suddenly Seymour is a real highlight of the production. Both are fantastic individually, but together they make an absolutely wonderful pairing.
Michael Starke is excellent as Mr Mushnik, the owner of the struggling flower shop. He brings plenty of personality to the character, with his expressive performance and well-timed comic moments proving particularly entertaining. His interactions with Seymour are especially enjoyable.
Benjamin Yates is absolutely brilliant as Orin Scrivello, the sadistic dentist. His performance is gloriously outrageous, combining exaggerated physical comedy with a wonderfully sinister personality.
Yates clearly relishes the role, and his scenes are among the funniest in the production. His performance of Dentist! is a particular highlight, showcasing both his impressive vocals and fantastic comic timing. He manages to make Orin thoroughly unpleasant while still being incredibly entertaining to watch.
Rio Maye as Chiffon, Psalms-Nissi Myers-Reid as Crystal and Gabrielle Davina Smith as Ronnette are outstanding as the three streetwise narrators.
From the moment they begin the opening number, their incredible vocals and harmonies immediately capture the audience's attention. They bring tremendous energy, humour and personality to the production, effortlessly guiding us through the story.
Their chemistry as a trio is fantastic, and their perfectly coordinated movements and expressive performances make them a joy to watch whenever they appear. Their musical numbers are among the highlights of the show, and they make a lasting impression.
Marcus Ayton provides the magnificent voice of Audrey II, giving the carnivorous plant a wonderfully distinctive personality. His powerful vocals perfectly capture the character's combination of charm, confidence and menace, making Audrey II every bit as entertaining as the human characters.
Equally deserving of recognition are puppeteers Christopher Dobson, Julia Frost and Imogen Khan, whose remarkable work brings Audrey II to life. Their precision and coordination create movements that make the plant feel like another fully developed character rather than simply a theatrical effect.
The wider ensemble, including Ella Howlett, Joseph Peacock, Nathen Scott and Kai Cameron-Jay, also deserves praise for bringing additional energy and character to the world of Skid Row.
It is a wonderfully talented company, with not a weak performance among them. Everyone works together to make this an entertaining and memorable production.
Having been a fan of Little Shop of Horrors for so many years, I went into this production with high expectations, and I am delighted to say that it certainly lived up to them.
Everything comes together beautifully, from the imaginative set and atmospheric lighting to the energetic choreography, memorable performances and extraordinary puppetry.
I particularly loved seeing the musical performed in such an intimate theatre. Hope Mill's smaller space brought us incredibly close to the action, allowing the finer details of the performances and production to shine without compromising the scale or ambition of the show.
Jed Berry and Maisie Smith particularly impressed me as Seymour and Audrey. Their chemistry brought so much warmth and heart to the production, while the supporting cast delivered equally memorable performances.
Although Audrey II's puppetry was a visual highlight, for me, the greatest pleasure was hearing Alan Menken and Howard Ashman's wonderful score performed so brilliantly by such a talented company.
Carrie-Anne Ingrouille and the creative team have delivered a production that understands exactly what makes Little Shop of Horrors so special. It embraces the musical's outrageous comedy and darker elements while giving its characters the warmth and humanity that make their stories so engaging.
Funny, touching, visually impressive and packed with fantastic music, this is a production that had me thoroughly entertained from beginning to end.
Whether you are already a fan of Little Shop of Horrors or discovering the musical for the first time, I cannot recommend this production highly enough.
“A killer cast, a sensational score and a production to die for!”
Little Shop of Horrors runs at Hope Mill Theatre, Manchester, until Saturday 28 November 2026, before transferring to Liverpool Playhouse from 3 December 2026 to 9 January 2027.
For more information about the production, visit the official website below.
Photo Credit - Danny Kaan
*Our tickets for this show were kindly gifted in exchange for an honest review.
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